他
一會兒看遠方
一會兒觀眼前
我覺得
他看面前的時候很靜
他看遠方的時候思緒很自由
隱于百世間
卻不止是為了粉飾“茍漏低淺”世俗的無奈
與世無爭
風輕云淡
他說
不懂享受自己思考的時間
是無法體會“自由”的實感
停
收斂
迸發

畫出未見，遵從自我
高嶺（中央美院博士，著名藝術評論）

  生活在彩云之南的徐浡君果然受到了那里藍天白云和紅土地所釋放出的強烈色彩的召喚，用他的繪畫向我們展示出絢爛的充滿生命律動的自然之美。通觀他2009年以來的《k.s.t.》、《絕版套色木刻》、《m.y.f.》、《蝶戀》四個系列的油畫和木刻版畫，撲面而來的是一股帶著云貴高原泥土的芬芳氣息和釋放強烈對比調子的色彩旋律。僅僅是看到這些繪畫作品，我們就會毫無猶豫地喜歡上云南；僅僅是因為這些繪畫作品，我們也會充滿好奇地問究這位善于舞弄色彩的藝術家——因為他用他手中的畫筆和刻刀深深地打動并感染了我們。 

  沒有云南的名山大川和遐邇古跡，有的只是普通的山鄉村落、工業廠房、瓶中雜花和戶外野花——豐富的自然地貌和多采的民族風情并沒有成為徐浡君描繪的對象。他的視角是獨特的，目光是平實的，觀察是入微的——他對大自然的饋贈所養成的云南之美的表現，不是浮光掠影式的表面再現，而是終日以對、朝夕相處中的些小入微和生生相吸。風景對他的繪畫而言，不是作為自然美的存在而入畫，而是作為自然美內化于心之后的意象性的表達。因此，何種風景或者何類景象能夠進入他的畫面并不是至關重要的，近幾年來他同時穿插交替地創作著這四類題材的行為本身就足以說明，重要的是他對大自然不落俗套的平實和敬畏之心，重要的是他對周圍世界的任何角落，無論天工還是人趣，都傾注極大的熱忱，于平凡些小和雜亂無章中發現色彩，捕捉光影，提煉素材，大膽想象，果斷和嫻熟地轉換為創造性的視覺形象。

  于是，我們在《k.s.t.》系列里看到他在二十天里，兩次分別用不同的色彩調子和運筆方式來表現同一視角下的村莊和池塘（《唯博邑》）——前者色彩明快、簡潔但不失清晰、穩健，后者色彩絢爛、恣肆又舞動、酣暢。與其說徐浡君在再現和描繪獨特的民居文化景觀，毋寧說他在反復挖掘和表現自己內心對眼前景物不羈的想象。同樣的情形還可以從《m.y.f.》系列里明顯看到：在2014年10月到11月短短十幾天時間里，藝術家對自己熟悉的昆明鋼鐵廠的寫生，一次比一次用筆奔放，色彩一次比一次簡約大膽，到最后一張第6號《草鋪昆鋼》時，工廠的煙囪已然像破壞毀滅后扭曲的廢墟般極度變形。

  因此，在徐浡君的繪畫中，寫生不復再現對象原貌的功能，而是要穿透物象的表征，呈現出視網膜難以發現和企及的內在生命，召喚起人們對這些有機的甚至于無機的自然之物或人造之物的尊重。那些山野里的雜花，在這樣的關照下，形象變得高大，色彩變得詭異——一切都在于主觀的發現，一切都在于能動的轉換，一切都在于自我的詮釋——美，不僅在于自然，更在于人的發現；生命，不僅在于實存，也在于人的賦予。絕版套色的景物花卉，也不再是傳統靜物畫那樣把花卉從其生長環境中抽離出來，被置于冷漠的注視之下了，而是被畫面背景的各種色彩塊面和結構所組成的豐富意象包圍著、烘托著，彼此相互穿插、相互交疊也相互影響，共同營造出光彩奪目、耐人尋味的視覺形象。

  徐浡君對色彩的敏感得益于他的家鄉云南，但是他對于色彩的理解、使用和表現，卻得益于他對繪畫目的和意義的深層次明了——畫出眼見背后的未見，刻出自我轉換過的景象，這樣的繪畫與心靈最近。

  Xu Bojun, living in Yunnan - the South ofCloud, is indeed affected by the intense colors released by the blue sky, whitecloud and red land there, and shows the gorgeous beauty of nature full of liferhyme through painting. Seeing his oil paintings and woodblock prints since2009 including four series - k.s.t., Out-of-print Colored Woodcut,m.y.f. and Butterfly's Love, we will feel the color and melodywhich contains the fragrance of soil on the Yunnan-Guizhou Plateau and releasesthe strong contrast tune. Just after seeing these painting works, we will fallin love with Yunnan without hesitation and just because of these paintingworks, we will be curious to know more about this artist who is good at usingcolors. That is because he deeply moves and infects us with his paintbrush andgraver.

  In his works, there are no famous mountains and great rivers or places of historicinterest in Yunnan, but just ordinary rural villages, industrial plants, mixedflowers in bottle or outdoor wild flowers - The rich natural features andcolorful ethnic customs are not the objects of Xu Bojun’s works. He is uniquein selecting perspective, and has a simple and unadorned eyesight and a sharpeye for details -- When showing the beauty of Yunnan coming from the gifts ofnature, he does not represent the skimming surface, but focuses on the detailsin daily life. In his paintings, landscape is not to show the beauty of nature,but the imagery expression after the nature is internalized. Therefore, it isnot crucial to draw what scenery or what kind of scene. In recent years, he hasalternately created works of four themes at the same time, which shows thatwhat is important is his unconventional plainness and reverence towards nature,his great enthusiasm for any corner of the surroundings, no matter the work ofnature or artificial works. More importantly, he can find a lot from theordinary and disorder, imagine boldly and decisively and skillfully transformthe imagination into creative visual images.

  Thus,in K.S.T. series, we can see that heused two different colors and tunes and painting ways to show the village andpool in the same perspective within 20 days (Wei Bo Yi) —— The former is bright in colors, concise, clear androbust, while the latter is rich in color, unrestrained, dancing and lively. XuBojun less represented and depicted the unique residential cultural landscapethan repeatedly dug and showed his inner imagination of the scene before hiseyes. We can also find the same situation in m.y.f. Series: In a fewdays from October to November in 2014, he painted Kunming Iron and Steel Planto which he was familiar. The works were more and more unrestrained; the colorswere simpler and simpler and bolder and bolder. And in the last work No. 6 Caopu Kunming Iron and Steel Plant, the chimney of the plant was extremelydeformed like twisted debris after destruction. 

  Therefore,in Xu Bojun’s works, painting is not to represent the natural form of theobject, but to present the inner life that eyes can not see and reach and callpeople to respect these organic and inorganic natural things or artificialarticles through the surface feature of objects. Thus, the wild mixed flowersgrow in image and become strange in colors -- All of these depend on thesubjective discovery, active transformation and self-interpretation -- Beautylies in more people’s discovery than nature; life does not only exist innature, but also exist because of people’s endowment. In the Out-of-printColored Woodcut, the landscape flowers were not just pulled out from thegrowing environment and gazed coldly like the traditional still life, but weresurrounded and set off by rich images on the background composed of variouscolor blocks and structures; they interspersed, overlapped and mutuallyaffected, and jointly created a dazzling and interesting visual image. 

  Xu Bojun’s sensitivity to color benefits from his hometown Yunnan, but hisunderstanding, use and expression of color benefits from his deep understandingof painting purpose and significance - painting what the eyes can not see andcarving the self-transformed images; and such paintings are the closest to one’s soul.

  看似平淡的生活，卻具有人生意蘊上的濃度，人生何嘗不是一場不斷重復修煉，象六字真言把重復化作一個動態活體，人以＂天＂＂神＂共處，＂天＂是神秘的，＂神＂是高超的，人類在天神面前顯的是如此渺小和無知，越探究越會未知世界之大。亳無疑問，重復亦是無耐，亦是一種自覺，亦然是迷惘，更是求索，因萬物皆不明晰，正因如此，才能構成深刻意義上的人生世界。

--徐浡君語

  藝術的當代性或者現代性同古典藝術或傳統藝術，最大的區別在于為誰服務，把對象當太陽還是把自己當太陽。當然，前提必須自己是太陽。什么是太陽呢？就是自己會發光發熱。照亮和溫暖別人。

--徐浡君語